Boat Design and the Modern Era

Interior design has moved from being strictly interiors of buildings into many categories. There is now the interior design of buildings, boats, planes, cars, the design of movie sets, stages, vehicles, just to name a few. The role of an interior designer has moved its importance to any item that requires space planning and ergonomics to function properly.

            One of the things that needs an interior designers touch is the interiors of large boats and yachts. With people willing to spend money on luxuries for recreational purposes, they would like it designed correctly. This is where an interior designer steps in. They are able to create a space that is ergonomically correct while making it aesthetically pleasing.

            One of the major Yacht designers approach “is about a lot more than style. It’s also about intelligent flow and space planning, lines of sight, light, presentation and attention to detail after detail after detail. The complicated whole needs to be reduced to simple impressions, luxurious in their “rightness” and unspoiled by the practical necessities of running a ship.” The environment must be able to support families living in this boat for long periods of time while the systems are hidden. This can be challenging to do when there is a limited amount of space to work with.           

Through the centuries, designers have constantly been challenged by the parameters given. As technology improved, both the design and the challenges grew with it. Today, designers are faced with multiple problems that designers could not have imagined, not even a few decades ago. The creativity of solutions grows with the most interesting designs being created through the influences of the past. 

Sources:
MULTICHINE 31
Interior design services 
Interior Yacht Design
Interior design methods for yacht design

Illusionist

Even though visual art was not as popular as it was in the 1800s, a few painters still survived into the mid 1900s. A popular technique at the time was Trompe L’oeil, which can date back to 464BC. The technique of this was to create a three dimensional illusion in a piece. This could include something as small as an object painted onto the frame of a picture, or to where a piece cretes the illusion of an extension onto a room. Trompe L’oeil is style of painting is commonly found on walls, ceilings, and floors as murals.

Adapting Trompe L’oeil into the 1980s hundreds of years later was very similar to its original applications. It was often used on murals on the ceiling, walls, and floors but it was also very common to find this on tables and other furniture pieces found within a room.

In order for this style to survive in such a modern era, the artists of these pieces would often add a taste of surrealism into each piece. The idea behind this was to create something that seemed unimaginable to pop out at the user. The illusion would create more of a challenge to the artist when it was applied to furniture, but they found solutions to create an extraordinary piece of artwork.
Since the technique was so dated, the adaptation into the newer time was not as easy as it appeared. Artists in the eighteenth century have more difficulties finding someone for commission than artists in the seventeenth century; visual artists were in more of a demand at the time. They had to show exquisite technique and create better work than the other artists in their area. Trompe L'oeil is a technique that requires a lot of skill so it is hard to find painters who can still recreate this. The passion that they have for this technique  is carried through and is the main reason that this artwork type still remains today. 
For a style that was created thousands of years ago, it was amazing how easy it could adapt into the modern times. With minor changes to the concept of this idea, it can easily be applied to any culture or into anytime. As modern times have been proven to show, flexibility is key and Trompe L’oeil has proven to be just that. 

Sources:

Trompe L'oeil 

High Tech and Architecture

With the field of architecture expanding more than ever, there were many styles being created or revisited. One of the grossing trends in the 1970s was the High Tech style. This style was a bridge between modernism and post modernism, with the focus being on exposing technology in buildings.

This movement started after World War II when there was a need to ration materials. The war took up most of the sources for building materials. When new building structures were being designed, architects made a conscious effort to use the least amount of supplies. The high-tech style was similar in a sense that fewer resources would be used in the construction of the building. ceilings were purposely left out since the exposure of the systems in the ceiling were socially acceptable. 

After hearing “high-tech” most people will think of technology in this day. But in the 1970s it was the purpose of exposing the technology

within the building. In contrary to this, it could also be hiding the technology to make the building appear as if it was created effortlessly. One will find the use of glass and the exposure of steel frames in a majority of the high-tech buildings. These were the techniques that were favoured.
Technology in the sense of new building materials and structures were also being explored at this time. Larger buildings were being created since the materials that were used allowed for it. They were able to expose more of the exterior and allow for more glazing so all occupants within the building can be exposed to daylight at all hours. Designers, architects, and artists worldwide were exploring with these new materials and creating new pieces that were tremendous in size, shape, and form. The style, High Tech Architecture, was appealing to consumers all around since minimalist was the new trend of the century. Creating a big impact with the least amount of materials was a challenge that everyone designing was eager to attempt.

Similar to what is classified as the industrial style today; people were fascinated with seeing how a building was able to support itself. This was not a common sight before the 1970s; only the architects, designers, and construction crew were able to see this before this period. High-tech let this exposure happen and yet still created and aesthetically pleasing interior. 

Sources:

High-tech Architecture 
HIGH TECH ARCHITECTURE

What is Archigram?

Archigram was a group that was formed in the 1960’s that was a futurist, anti-heroic and pro-consumerist thinking group, drawing inspiration from technology in order to create a new reality

that was solely expressed through hypothetical projects. They were only put to fame because of some of the famous architects that pushed their movement into media. The main members of this group included Peter Cook, Warren Chalk, Ron Herron, Dennis Crompton, Michael Webb and David Greene. Their projects were all conceptual projects that were to lead to bigger and better things later. Many of their designs were never built even with the help of the media since the technology available was not as advance as their brainstorming. 

The way that Archigram members approached their designs was through technology based thinking. They were interested in how the materials of the future could take society to bigger and better places. Most of their designs were never created or explored, but they documented every project that they thought of.

The high-tech design was driven by the emerging technologies of this time. With these new inventions appearing, designers were exposed to endless design opportunities. The members of Archigram took advantage of these possibilities and thought of ideas that were beyond the imagination of the average person.

Some of their designs included The Walking City, where buildings would be able to freely move around a city. The thought behind this was to be to easily relocated buildings and to constantly have a new view through a window. The buildings in this city would be able to plug into various stations where they would be hosted. This was never created, but the thought behind this design was beyond the technology they had available. 
Archigram was a group of people that also had statements that they wanted to portray a certain concept with all of their designs, similar to Idiosyncratic Design. They too came up with unique designs with interesting shapes; ones of which were never thought of previously. Within their work, they wanted to benefit society and show that they can make an impact.

The type of thinking that Archigram displayed was beyond average. They were also seeking to go beyond what they had available and tried to do bigger and better things then what had been done previously. Their projects were evidence that designers were now looking beyond what was present and trying to streamline into the future. 

Sources:
Archigram

Architecture Telegram

The Legacy of Richard Neutra

            Famous architects and designers from the early nineteen hundreds had some of the largest impact on architecture and interior design today. They were the ones that pushed their way through the disputes of what society dictated that was acceptable. Richard Neutra is one of these architects. He focused on what the client needed and wanted in the space instead of what was dictated was to be placed.

            Richard left a huge legacy. The Austria born architect (1892-1970) gained his education in Austria but practiced mostly in southern California. He worked next to Frank Lloyd Wright briefly which is where he explored his love of glass and the transparency aspect of it. By connecting the user back to nature, there would be a sense of tranquility in the space.

            Frank Lloyd Wright was another architect who seemed to focus on the client’s needs instead of what was dictated. This is one possibility of where Richard Neutra could have gotten the idea from. Richard would often give his clients long and complex questionnaires to understand their needs fully. By doing this the interior of the building that he designed will be shaped for their needs, instead of being squished into the building shell. This approach is extremely similar to the approach we take today as designers, so he was far ahead of his time.

            Architects like these two were always criticized on their designs since they were approaching the design problem in a way that was unthought-of at the time. Their style developed into something similar to

Organic Architecture. As important as it was to Richard Neutra to try to stay true to the nature of the building, he was primarily driven by the form being defined by the function. This was not recognized as being important until later years, but Richard Neutra’s designs were some of the first steps towards this.

            Even through being criticized, Richard Neutra stuck to what he believed was the correct way to approaching design. By doing this it not only earned him a place in history but a credit to forever changing the way design was to be looked at. The concepts he practiced is the shift that Interior Design as a career is taking today. It is Richard Neutras passion that pushed his concept into present day design. 

Sources:

Richard and Dion Neutra Architecture 
RICHARD JOSEF NEUTRA (1892-1970) 
Organic Architecture 

What is Idiosyncratic design?

First and foremost, what does idiosyncratic mean? It is a characteristic, habit, mannerism, or the like, that is peculiar to an individual. Another definition for this term is the physical constitution peculiar to an individual. Consider it like a signature that is individual to everyone and each person implements it into everything they create. It will be something that that is very unusual.

                When looking at the definition, this is similar to surrealism in buildings. Architects and designers are taking an aspect of the environment, socialism, or mental area of the client and incorporating it into their project. This signature will be unique to that project and will not be seen elsewhere, making the project individual to the client. This is another step to placing individuality into a project. More creativity is allowed in a project and the envelope is pushed to the limit to create something that has never been seen or thought of before. Creativity is key and everyone wanted to accomplish break through designs. 

In order to create an idiosyncratic design correctly, there must be something it relates to or there must be a statement that it is trying to make. Without one of the two, this design will not be accepted in the design world and not be preserved. Designs that are popular are the ones that are preserved and maintained, making them last longer. This is one way for designers and architects to express an idea or a statement subtly. The bolder the statement, the more interesting the design will appear. Keeping in mind that it must still support various activities. When statements are subtle, the message can  be seen more clearly at times due to the fact that the occupants are constantly being exposed through it. 

                Idiosyncratic designs are similar to surrealism. They appear to be something from a fictionist area where anything is possible. Architects and designers were pushing their ideas to new limits. Unfortunately at the time when most of these ideas were explored, the technology to create them was not available. As a result, most of the creations have been left as ideas on paper and not implemented. Credit should be given to this era for developing these creative ideas.

                Architects and designers want their efforts to last but there is a critical balance between what is trending at the moment and what individuality can be put into the project. In order to be successful, all designers must find the perfect balance and implement it correctly. Projects will be viewed upon and credited for years if this is accomplished. 

Sources:

Idiosyncrasy
Idiosyncratic Interiors
OUTSIDE OF THE BOX: 7 DELIGHTFULLY IDIOSYNCRATIC DESIGNS

Staging the Interior

                With the emergence of interior decorating there came a move of luxury goods to be implemented in the homes. Movie production and theatre attendance was high at this time which drove a need for homes to reflect what was in the movies. Elements that were seen in a movie were wanted in people’s homes. This is the first and prime example on how media influenced the design, fashion, and automotive industry.

                The home was viewed as an area for entertaining guests. People in the upper class especially would throw extravagant parties, inviting over dozens even hundreds of guests. In order to impress their guests they would hire an interior decorator to stage the house. This was similar to the term “mise-en-scène” that was used in theatre production. It essentially means “telling a story” and is an expression used to describe the design aspects in theatre or film production.

                The term “mise-en-scène” was used when talking about the film set. However, the approach that they took can be compared to the way the interiors were decorated. Features like lighting, finishes, materials, and the way it evokes emotion onto the audience is considered with both careers. When these elements are blended together well, the audience will be directed to look in the room in a certain way; one that may be different than what one person may think.

                This can relate back to the way interior decorators work. They are taking what is there, and through the elements they implement they are telling a story of the user or of the even that is happening in the space. There are many ways that the decorator could manipulate the space into provoking a certain emotion onto the user.

                Without a push towards interior decorating as a career, the way that the interiors looked would be left to the architects. Buildings would be created as entire package with the architect having responsibility of many aspects of the building. Everything from the size of the building, to the HVAC system, to the small details of the interior finishes would be the responsibility of one person or one group of people. With more responsibility pushed onto them, there would be a possibility of details being missed or more repetition in buildings.

                As all designers do, they expand their touch onto anything they can, and decorating turned into interior design. Once it was understood how much the interior of the space affected the occupants inside, the monitoring of how the interiors were design had to become stricter. This evolved interior design into where it is today. 

Source:

Mise en scène

Ruhlmann and Art Nouveau

Paris born Emile-Jacques Ruhlmann (1879 – 1933) was a furniture designer. His mother and

 father owned a painting and contracting firm so he was constantly exposed to design in his lifetime. It was here where he first was exposed to architects and designers of all sorts, making a lasting impression on his career choice.
Influences that impacted him during the art nouveau and arts and crafts movement were carried into the 1920’s while he designed.  He created a line of precious pieces in which Emile-Jacques Ruhlmann implemented the use of exotic woods. His favourite species were macassar ebony and amboyna burl since both of these has soft striking background patterns that would not over take the design of the furniture. Between the design of the furniture that Emile-Jacques Ruhlman created and the material he used to make it, there was always a sense of amazement given to the user.
During the 20’s, there was still a push for and resistance to the arts and crafts movement. Designers at or related to the Bauhaus School were agreeing with the crafts movement and created a variety of pieces. Like this, Emile-Jacques Ruhlmann worked in team with 27 master cabinetmakers, four finishers, a dozen upholsterers, a few apprentice cabinetmakers and twenty-five draftsmen. In doing so, he created pieces that were very pricey. Customers would still buy his pieces since they were sold under the cost of making them so more people could afford them.

This was a huge business risk for Emile-Jacques Ruhlmann, if he was to ever go out of business his pieces might not have been viewed as important. His pieces were viewed as Art Nouveau examples which can be considered the first step towards a modernism approach. These pieces can be identifiable by the sleek, dark lines versus the lighter cloth pieces. Furniture designs created by Emile-Jacques Ruhlmann can still be purchased today.

The approach of creating a piece that was luxurious, affordable, and exotic pieces forced the demand of handcrafted pieces back to the top. Due to the actions of Emile-Jacques Ruhlmann and others, the modernist movement was in full fledge and ready to reach new heights. 
Similar to the Movement in William Morris and the Tulip Chintz, the push against a movement plays a powerful role. Emile-Jacques Ruhlmann decided to take his design career differently than all others. He wanted his work to be available to as many people as possible. Choices like this is what made him stand out from other designers at this time and made his pieces last until present time. His want for everyone to enjoy this work he created helped him push his designs to be easy to produce while still ensuring the aesthetic was not depleted. The Art Nouveau style that Emile-Jacques Ruhlmann was famous for designing in still has characteristics that are used in many work to date. Being passionate about what you're accomplishing will force your best foot forward and cause some of the best creations you can imagine. Making a lasting impression with these comes with the choices you make to showcase your concepts. 

Sources:
Emile-Jacques Ruhlmann

William Morris and the Tulip Chintz

The arts and crafts movement was not seen as the popular movement, but to William Morris this was the only way that design should be approached. William Morris (1834 – 1896) was an artist, designer, printer, typographer, bookbinder, craftsman, poet, writer and champion of socialist ideals. He was first and foremost a designer through the design of his textiles.

            One of his more famous designs is called the “Tulip Chintz”. William Morris preferred to study the motifs from nature and all of his designs were hand crafted. He adapted this tendency from the Gothic era where the artists and craftsmen worked together in order to glorify the architecture and art pieces. During this time, pieces were large, and ordinate. William Morris wanted to provoke that same emotion through the textiles and pieces he designed. The way he worked can be similar to that of Claude Monet who derived his inspiration from nature. He took what he saw and interpreted it through his own terms and applied this to his pieces. In doing so, emotion is also displayed, evoking a feeling onto the user.

           

Like most designers today, William Morris studied nature and previous artworks created. He wanted to take the creations of nature from being strictly outdoors to becoming appreciated from inside of homes as well. William and his family had a garden at his house which could not be appreciated during the winter season or at night. By imprinting the same images onto a textile, this idea could be cherished all year round, at any time of day.

            The industrial revolution resisted this movement which made it hard for the designers at this time to flourish. Designers at this time, including William Morris, “feared that industrialization was destroying the environment in which traditional skills and crafts could prosper, as machine production had taken the pride, skill and design out of the quality of goods being manufactured.” Pieces that were created were more expensive than the massed produced ones, but they were made with more luxurious materials forcing them to be worth more.

            Through the resistance of William Morris and many other designers like him during this era, the creation of the Bauhaus School of Arts was created. This was the start of all modern design and the emergence of key architects and designers. 
Designers influences are stronger than what they appear to be. For instance, if William Morris and other designers like him did not take a stand against the industrial movement, it would have influenced design, buildings, artwork, and lifestyle. Products would have been produced faster; taking away from its aesthetic. It would be possible that simple designs would be developed earlier in the 1900s. New problems with production would arise but with the technology available at the time, would the society be able to resolve them? Or would it push the solutions and new technologies along further and faster? As humans, we all learn through our mistakes so the sooner we make them, the sooner we can figure out new solutions. 

Sources:

William Morris

William Morris - Arts and Crafts Movement

'The Firm'

The Ritz Hotel, Entertainment in the Nineteenth Century

Places to gather have always been common in human history. As people, we crave and need interaction with each other. More so now, socialization is encouraged throughout day to day life. During the early 1900s, the upper class could enjoy areas like this more than the lower class. This is why places like the Ritz Hotel in New York were created, for people to have a place to gather outside the home for people of the like mind to interact.

The Ritz Hotel was completed in May of 1906 and it offered more than just hotel services. It also housed The Palm Court; one of the most decorated tea rooms at the time. It was wrapped with copper details, chandeliers, and luxury textiles. The over decoration within the hotel adds to the aesthetics in the room by showing all of the luxuries that the hotel could afford for its guests. Tea was considered at luxury at the time, and the upper class would frequently indulge in this tradition. This hotel was considered as a destination for the rich to experience the richer and for them to glorify the luxuries they had.

During the time that the Ritz Hotel was on operation, the two classes would have felt very separate. The perception that the large lower class would have upon the small upper class would have been something along the lines of snobby and condescending but because the two groups did not socialize, there would be no issues between them. Hotels and places like the Ritz would glorify how amazing they were. This situation could be compared to the racial segregation that happened in the 1960s. By separating a visual minority class, it is setting up a playing field for people to start raising issues. There is the possibility that people in the lower classes felt left out. This could have caused tension between the two social classes.

            Since the Ritz Hotel opened, it has continued to be in operation. There have been constant renovations to preserve the wonderful architecture of this building. However, in January 2007 a large fire engulfed the Hotel, leaving only a few areas behind. It has been reconstructed to be nearly the same as it was before. Presently, it plays a different role in society. It is no longer available to only those who can afford its luxuries. Even though there is luxury services provided, there are restaurants, cafes and services available to all of the public. Meaning that was once an exclusive area is now an inclusive place to gather. If the Ritz Hotel was left as a place for just richer people to go to, I do not believe it would be in operation today. Having an inclusive environment means there is more of a chance for the business to flourish in present day business society. 

It is important to research into places that were seen as a destination place in history. There are reasons why people would frequently visit them. The designs and decorations within them appealed to the time and there would be lessons to take form them. From the Ritz Hotel, one can tell that the extravagant decorating can attract an upper class customer base. It was also determined by the client how much money was to be spent on the interiors of spaces. This contributes to the problem that furniture and good quality products were only available to a percentage of the population. Social standings in the early eighteenth century influenced the way it was decorated. If common furniture pieces, minimal lighting, and no extravagant features were implemented, the Ritz would not be a successful business. Most people would have access to furniture that was common, so it would not be set apart from any other place. Unfortunately not everyone was able to enjoy the beauty of places like the Ritz Hotel, but we are all able to implement similar concepts into buildings created today.  

Sources:
THE RITZ-CARLTON HOTEL- ATLANTIC CITY (HISTORICAL TIMELINE)

The Ritz Carlton: Our History

The Ritz Hotel, London

About the Ritz London